Professional and user reviews, owner opinions and experiences, tests, ratings, conclusions and feedback

Peter’s field test report of the Pentax K7 is a good summary of the various capabilities of the camera, covering features such as AF (autofocus) performance in Live View and Movie Mode to producing HDR (HDR Imaging) images in capture mode vs using the HDR digital filter in Playback mode.

This is definitely the best Pentax DSLR to date in terms of versatility, ruggedness, speed and viewfinder coverage. Sure, the K20D was already packed with capabilities, but the K-7 targets an even more experienced photographer with additional amenities. While the many advanced functions make some aspects of operation complicated, it’s worth taking the time to reach a high level of proficiency with the camera.

Browsing the six-page, 37-function custom menu system, the Pentax K-7 eliminates one of the fears I had. It appears Pentax added a feature I’d been wishing for some time—the IR remote isn’t just a press and fire remote, but it can be set to trigger the shutter to open on the first press, and close on the second while in bulb mode. Coupled with the auto bracket mode and interval timer carried over from the K20D this should eliminate the need to use the cable release port very often. It should now be possible via the menu to shoot almost any scene without the need to use a wired cable release. A distinct advantage of this is no more cable release to dangle and keep track of while the wind is blowing, and no more open port doors for long exposures.

I’m liking the noise results from the Pentax K-7, not only because they’re among the best I’ve seen from a Pentax model but also because the control that the new processor is commanding over the noise is excellent. The best noise control I’ve seen so far from a Pentax DSLR is on the K-m, which has 4Mp less, and although noise appears relatively early on, it doesn’t even get aggressive at the higher settings which is nice to see.

There are also several image samples and ISO noise performance tests embedded in the article.

The standard 18-55mm f3.5-5.6 kit lens comes boxed with the K-7 and its performance is ample. As with most standard kit lenses you’ll likely feel somewhat restricted by its aperture and focal length limitations, but attach one of many other lenses, new or old, and that’s where the fun starts. Using both a 100mm f2.8 macro and 300mm f4.5 telephoto lens entirely changes the way of working, as any photographer knows. So whilst the kit lens provides sturdy image quality, keeps chromatic aberrations to a minimum and is fairly sharp, it’s the box of other goodies that should rouse some excitement in the potential that the K7 has – especially considering those lenses for movie modes or quick burst continuous shooting.

For now, here’s some of what I found to be the more interesting aspects of the camera, as revealed in this article.

Prime lenses for the APS-C format: Pentax is alone among the major makers of DSLR cameras in having an extremely attractive range of super-sharp, super-small and super-light prime lenses. Some of them are pancake lenses, which will appeal to the photographer who want the highest quality possible in the lightest package available.

Together with the announcement of the K-7, Pentax has made available updated versions of the DA 18-55mm and DA 50-200mm kit lenses, now designated as DA 18-55mm WR and DA 50-200mm WR. WR stands for weather resistant. These new lenses have the same optics as their older counterparts, but have a simplified weather-resistant construction that offers greater protection against moisture and dust ingress.

New AF assist light: The K-7 now has a built-in lamp (just like Nikon DSLRs) to help with autofocus in low-light conditions. This is, in my opinion, way better than using the strobing light pulses from the built-in, pop-up flash method that’s implemented on Canon DSLRs.

Movie capture: You can now record video clips on a Pentax DSLR. The K-7 has a dedicated movie mode on the exposure mode dial. Sound can be captured via a built-in mono mic that is located on the right side of the mirror box, or via an external microphone that can be plugged into a mic socket.

At the time of writing, the Canon 5D Mark II (digital SLR) and Panasonic Lumix DMC-GH1 (Electronic Viewfinder Interchangeable Lens) are the only other cameras on the market that allow for the use of an external mic.

In-camera RAW conversion tool: New in the K7 is the ability to correct chromatic aberration and lens distortion, add shadow adjustment and output the converted image as a TIFF.

Smaller and lighter than the K20D: Given the sheer increase in features and build quality and ruggedness, it’s impressive that Pentax managed to reduce the bulk and weight of the K-7 relative to the Pentax K20D.

The K-7 is a huge step forward for Pentax cameras of this level. The K20D was a reassuringly solid-feeling camera but the K-7’s magnesium alloy body lends it the kind of confidence-inspiring feel and sense of solidity that is only matched by the very best in this class. And yet that alloy body also allows it to be made smaller and lighter, while enhancing the impression of high quality build.

Jackson Lynch, the reviewer, made an interesting observation about the AWB / Automatic White Balance performance on the K7:

Beyond its unimpeachable durability Pentax has gamely tackled one of digital imaging’s biggest bugaboos — white balance. At times even the highest end pro models struggle, especially with fluorescent lighting. In our testing, the K-7 gives those heavyweights a lesson when it comes to getting the color right. Even in the toughest mixed-lighting conditions, the Pentax achieved excellent color reproduction. Plus the K-7 includes four unique fluorescent light presets and postsets, so you can tune the color temperate to either your eye or the temp of the bulbs.